A furniture collection developed through a rooftop lounge scenario at Luyeyuan Stone Carving Art Museum, exploring material restraint, spatial atmosphere, and modes of gathering.

Rooted in Sichuan, the project draws from Liu Jiakun’s architectural clarity and Xie Ke’s atmospheric, material-driven interiors. Walnut, ceramic tile, and limestone form a collection designed to reactivate the museum’s unused rooftop while remaining aligned with its architectural character.

An ongoing practice of photographing the world around me.

Rather than treating life and death as a fixed binary of presence and disappearance, this speculative worldbuilding project constructs two spatial worlds: one governed by efficiency, repetition, and functional clarity, the other by stillness, withdrawal, and absence without spectacle.

Between them lies an intermediate condition, articulated as an inhabitable interior system. Through spatial sequencing, enclosure, and layered interior elements such as furniture and texture, the worlds overlap rather than resolve. Everyday routines persist as spatial rhythms, while hesitation, suspension, and quiet withdrawal are embedded into circulation, scale, and material articulation.

Influenced by Japanese contemporary minimal furniture, this solid wood table was developed through hands-on fabrication and iterative refinement, exploring proportions, structural clarity, and surface finishing.

Handcrafted white oak, finished with Monocoat.

A sculpted walnut spoon with an organic handle and elongated bowl.

A cherry wood plant stand with rounded uprights and intersecting supports.

A mixed-media installation combining a dismantled cabinet, layered printed imagery, freestanding cutout forms, and red tulip motifs.